It's time! North Sea Jazz Festival 2017 is loading! The great and unique jazz festival of Netherlands will be held between July 7th and July 9th this year. This will be my third time in Ahoy, Rotterdam and I decided to share my draft schedule in advance as a pre-guide to my followers. Please click on each picture to see the complete program as well as my selections with coloured circles ranging from red (do not miss) to pink (have a look). You can find my general review for 2013 here, which also includes some advice and tips: http://fatih-erkan.blogspot.nl/2013/08/north-sea-jazz-festival-2013-visitors.html. Please do not hesitate to add any of your advice in the comments...
Sunday, 25 June 2017
Saturday, 17 June 2017
In my opinion, jazz, both as a genre and a style to perform music, can easily be described as some abstracted outputs of complex sensations and feelings. Celebration should be allocating one of the largest portions there and the performance from Joshua Redman Trio in the festival Jazz in Duketown, here in Den Bosch, showed me one more time that how important this celebration feeling is both for jazz and life in general. For my first time in Jazz in Duketown, my overall evaluation for the festival would be the Dutch word "gezellig", which seems to have a meaning in between cozy and within-family-and-close-friends. Although the festival is known to be an entertainment-fair like event in past mostly with its outdoor style, line-up-wise it is said to be changing roles with its counterpart in Breda, which is another long standing Dutch jazz festival close by. Amongst, Al Di Meola, Ben Williams, Marcus Strickland, Mark Turner, Sons of Kemet, Jasper Hoiby, China Moses, Lucy Woodward and Dinosaur caught my attention immediately on checking the four days festival ending on the national holiday Monday June 5th. The organization has been changing the ambience of the great city Den Bosch entirely into an impressive jazz celebration fair by spreading the stages to almost all main streets and squares of the city for many years.
Coming back to the Joshua Redman Trio, the musicians managed to captivate the audience starting from the first note and move just like three heavy-weight boxing champions in the ring. Despite the very informal and outdoor ambience in Den Bosch, the saxophonist Joshua Redman, the bassist Reuben Rogers and the drummer Gregory Hutchinson could easily lock all the attentions of concerned listeners to the tunes, which are selected mostly from unique arrangements of jazz standards and/or catchy compositions of Joshua as well as other jazz giants. A very interesting version of one of my all-time favorite tunes Mack The Knife became the first piece of the performance and getting Joshua's nice piece Second Date as the following one was something that makes me happier in my almost forefront seat in the middle of spacious Markt square. Blackwell's Message from Joe Lovano, Limehouse Blues from Django Reinhardt and many others had filled our ears and fed our souls especially thanks to Joshua Redman's really impressive full breath tone and Gregory Hutchinson's endless energy on beating the drum-set.
Tuesday, 13 June 2017
Recorded by Vin Cin, mixed by Vin Cin & Jamie Saft in Sear Sound NY and mastered by Scott Huli at Masterdisk NY, the album is very successful sound design-wise. The seperation of different instruments and the locations on the stage can easily be heard. The album is produced by Jamie Saft who is also behind the nice arrangements. The executive producer is Hub Music.
Monday, 8 May 2017
Missing their jazzahead performance back in 2015 - among most-liked ones of my jazz professional friends in there at that time - I know I would not make the same mistake when I first saw two months ago that Icelandic jazz band ADHD is visiting Cloud Nine of Tivoli Vredenburg in Utrecht for a live performance on March. A single seamless set of almost 90 minutes, which is full of tensional swinging between too many different textures both in electronic and acoustic world and improvisational patterns sourcing both from jazz and rock genres, pushed me directly to the sales corner after the performance and I could not help myself buying as much as I can from their rare -pressed and released in Iceland previously- albums. Luckily, I had also the last album ADHD6, which includes most of the tunes played in the performance and is being released now in May. So, here is what I have to say after listening to the ADHD6 several times following that night.
Even though it is presented in eight individual tracks, this album can be described as a single (or two set at most) performance of around 45 minutes, where certain differences in rhythms and main themes create the boundaries of separate pieces. Even just with this organic structure, one can easily notice that the roots of the musical and social relationship between band members is a long established one.
The album starts with a track called MAGNÚS TRYGVASON ELIASSEN, which is also the name of the drummer of the band. The main line seems to be constructed on the keyboarder DAVÍÐ ÞÓR JÓNSSON's dark bass lines and carried by the modest theme delivered by the saxophonist ÓSKAR GUÐJÓNSSON. The rise and fall of the tension is successfully controlled by the drummer throughout the piece and the soft guitar touches by ÓMAR GUÐJÓNSSON seems like the last ingredient in this minimal, yet very sophisticated, sonar stew. The last distortions of this first piece sounds like turning into the first random sparks of the creation in the second number, LEVON. The cool bass line from Omar's bass guitar brings the scattered pieces together down to the ground and is accompanied by the shuffles of the keyboards. The sax is kind of a free format poem over this top notch rhythm line. Some high pitch feedback tones carried from this piece turns into the third track SPESSI, which sounds like carrying two very separated themes using stage one by one. The first one feels as if we are in a cool-lounge performance while the other one plays like a Nordic ballad with some naïve melodies from the saxophone. The bass line getting mushy and the drum-line turns into psychedelic patterns with the keyboard through the end of this third track. REBROFF is born as an amazingly touchy ballad-like sax partition connected to this crowded end. All the accompaniment made by the other instruments are consistent with this ambience. The solo part from the guitar and its tone in general are two very impressive highlights not only for this piece but for the whole album.
ALLI KRILLI looks like the first piece of the second set and carry some very catchy lines especially performed by saxophone. The band somehow manages to decrease the bpm of the whole performance gradually and keeps on playing the same tune - for me it is like zooming into a great landscape from Iceland. The electrical content from the keyboard and guitar, which almost sounds like a natural sound from underneath the earth, is really impressive in this piece. FYRIR RÚNA is the pure Nordic number in the album especially with its melancholic keyboard lines and spacious saxophone performance carrying lots of air inside - very successfully recorded indeed. TVÖFALDUR VİKINGUR increases the energy a little bit and moves us back into an interesting psychedelic-lounge genre based on continuous drum and deep bass riffs surrounded by an electric ambient and propelled by a naïve saxophone, which I am sure sounds strange as a genre description. MED İVARI closes the album with a gradually slowed-down and dignified tempo. It somehow sounds like a conclusion for the whole album carrying familiar textures from some of the other pieces.
The recording, mixing and mastering of the album seem like to be achieved well - although the complex sound palette is distributed over several layers and the dynamic range is very high, the instruments can be easily located in individual places within a wide stage. Plus, being able to hear the saxophone this much detailed and natural in an album, which is heavily allocated with electronic-based rhythms, is giving a certain feeling of reliance about the quality in general to the listener .
Even though there are now 6 albums from ADHD, I strongly recommend you listen them live because these guys were really born to play live. What you can get from the album is at most half of what's really going on with the concerts. Here is their tour program from their own website: http://adhd-music.com/tour/
...and here is a sample from one of their latest live performances:
...and here is a sample from one of their latest live performances:
Thursday, 4 May 2017
Bimhuis has always been in my must-see-list. To be honest, I found it strange and a little bit pity for myself that I had not been there since last night - although I have been in Amsterdam several times before and I started to live in Netherlands two months ago... We can all blame the incredible North Sea Jazz Festival in Rotterdam for this since it had basically been the main reason for my travels before, saturating my appetite for jazz and preventing me from asking for more during my one-day-sightseeing-visits around the Dam. Well, it seems that the Jazz God was waiting for the right time in order to make a memorial night for me.
Thus, it started like that and with so many peaks and deeps I kept on writing within this blog. I feel so lucky and humble that I have been able to join so many performances and listened to so many jazz albums – all around the world. Now, while writing these lines on the last train from Amsterdam to my home in Eindhoven, I feel the same satisfaction. Once again, thanks to the great performance of Chris Potter Quartet in Bimhuis, Amsterdam last night, I feel complete and full enough to keep on sharing. It is hard to give a single reason why I am so impressed and got emotional. The elegant and modest tone of Chris Potter both from tenor and soprano sax, his great compositions in the last album from ECM, Dreamer is the Dream, the amazing Nasheet Waits on drums, the great solo performances of pianist David Virelles and bassist Joe Martin, heavenly acoustic conditions of Bimhuis right next to the Amsterdam Port and -last but not least- the unique view of wide glass background of the stage letting you see the busy Dutch trains landing on and off to the Central Station... They, all together, pushed me to write these lines which can be defined as the ones connecting the blog back to the roots that I have been feeding from for a long time. It is this connection and idea indeed what make me to keep on writing – who knows, maybe for forever.
Stay connected for following posts which will be on some very good jazz albums that I have listened to lately.